Audio Mixers & Software Buyer's Guide

Hal Robertson
Special 2007

Audio editing software has more fine-tuning tricks than most video editing programs offer, and mixers come in all shapes, sizes and price ranges. But they all do one thing: combine multiple audio inputs for recording. First, let's talk about mixers.

Some are as simple as a two-input field mixer, while others may sport dozens of channels with hundreds of knobs and buttons for the ultimate in control. Regardless, if you're in the market for a mixer, it helps to have a clear idea of what you need your box to do. For the next few minutes, let's take a look at audio mixer features and how they can deliver convenience, flexibility and audio clarity for your productions.

We have Greg Mackie to thank for the current state of the mixer art. His 1991 release of the CR-1604 turned the humdrum mixer world on its ear, clearly demonstrating that quality and convenience could be built into a durable, affordable product. Ever since that landmark, manufacturers have emulated Mackie's simplicity and function, creating a huge market of small inexpensive mixers. Microphone preamps, in particular, have benefited from the revolution. Now everyone can afford good-quality mic preamps. Design specifications that seemed esoteric just 20 years ago are now common in virtually every make and model. For the video producer, this means it's hard to go wrong when it's your turn to make a mixer purchase.

It's easy to get lost in all the facts and figures surrounding a mixer purchase, so let's start with what you need. How many mic inputs do you really need? Will you ever use condenser microphones that require phantom power? How many mono or stereo inputs could you use on a regular basis, and what about connector types? Will you need battery power for portable use? How will you integrate the mixer in your production chain? That's a lot of questions, but you should have answers before buying a mixer you'll hate for years to come.

Inputs and outputs are easy - just do an inventory of your existing equipment and connectors. Consider what other gear you may buy or upgrade in the near future, and check the requirements. Professional XLR connectors are standard for microphone inputs, and 1/4" connectors are standard for line-level sources. Outputs may be on XLR, 1/4" or even RCA connectors. If the mixer you're considering isn't a perfect fit for everything you own, a few inexpensive audio adapters may solve the problem. A related issue is output level. If your mixer has line-level outputs on XLR connectors, and your camera uses a 1/8" stereo mic input, you have a serious mismatch. Yes, there are adapters for this challenge too, but some of them cost as much as a mixer. It's better to get closer to your actual needs first. Fortunately, there are plenty of options.

Aside from the technical aspects, there are functional concerns. For instance, do you need to mix multiple sources in the field? If so, a battery-powered option is a consideration. How much real estate is available in your studio or edit suite? A 32-input model might be perfect for mixing a rock band or a musical, but it's tough to find three or four extra feet of space on your computer desk.

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